Listening to Ehwald solo over the spare piano chords and shimmering cymbal work, one cannot tell the musicians are separated by thousands of miles. For me, this speaks to the power of friendship, of maturity (both personal and musical) and trust.
(On the other Hand) the impertinence of the saxophonist, who uses every means, from the shrill scream to strumming on toy instruments.
Through Peter Ehwald the CD becomes a sensation: On the tenor saxophone he is reminiscent of of Ben Websters smokey tone or the lyricism of Lester Young, with his Soprano Saxophone he is closer to Sidney Bechet than to John Coltrane. Nevertheless, Paragon plays music from. With borrowings from rock music they powerfully blow away the "Quarterlife Crisis". A music that becomes pleasantly concrete and sturdy.
But if you are looking for solstic brilliance, you get stuck with Peter Ehwald
"Ehwalds tenorplaying has the raw dissonant energy and wideranging phrasing of Brecker moving towards Ayler"
„Ehwald evokes an affecting tonal range, moving artfully between Wayne Shorter-type floaty, snaking lines and tougher vocalised timbres."
And then it got really free, Peter Ehwald let all his instruments squeak and scream. There was a pandemonium on the stage, a somehow tamed chaos, a ice-cold fieriness.
„Peter Ehwald is clearly a catalyst for this band, bringing together its members around an athletic yet decidedly expressive sound. „Dunkel" is just one example of Ehwaldʼs warmth as a composer and an instrumentalist. His importance to this ensemble's surprising cohesion is evident."
"Ehwald has a prodigious saxophone technique and a fine ear, particularly in his frequent excursions into altissimo. His most natural voice seemed to me to emerge in the more thoughtful and expressive moments. "